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Source: Scan of the cover of an original copy of the programmer in our collection.
Date: Saturday March 15th 1969.
Ref: SWI.796
Repository: Local Studies, Swindon Central Library.
Mirai Nagasu
Gold Medal winner, Womens
ISU Junior Grand Prix, Lake Placid, Sept. 2007
A full Bielman..and spinning at incredible speed to boot.
A future Olympian to look out for in Vancouver 2010!!!
Performing her long programme, Coppélia. Notes on Coppelia below. This is the same programme she performed January 26th 2008 at the US Senior Ladies championship, and won gold with. At age 14, even though Mirai is the US woman's champion, she is too young to go to the world championships.
Coppelia is ballet about a girl who sits still, without smiling in the window of the shop of a toymaker Coppelius. A group of young kids enter the shop, and one of them noticing that Coppelia is a mechanical doll, pretends to be her, and gradually comes to life. The original choreography for Coppelia was by Arthur Saint-Leon with music by Leo Delibes.
Mirai's programme tells the story of the ballet (or part of it). It is not just skating to music, but a beautifully choreographed piece. Fulls mark to her choreographer, as well as to Mirai.
Nagasu trains in Pasadena and represents the Pasadena Figure Skating Club. Her coaches are Charlene Wong, Sashi Kuchiki, Sondra Holmes, Bob Paul, and Jim Yorke. Her choreographer is Lori Nichol.
Put two shots together, the front & back of this original French programme of La Strada, directed by Federico Fellini.
Appleton Tower at night - this incredibly ugly, tall building was part of Edinburgh University's still controversial programme of demolitions and rebuilding from the 1960s, which was a swathe of George Square's handsome Georgian buildings destroyed for ugly concrete, tall structure like this.
The original plan was for much more of this around this area, but fortunately that didn't happen. As is common with a lot of this Brutalist architecture, the concrete has not weathered the decades well, and the exterior all had to be renovated and replaced a few years ago.
The ugliness of the structure compared to much of the rest of the city is legendary, with it being something of a running joke that the best thing about being in the tower is not being able to see it on the skyline then! However, sometimes even the ugliest, modern sructures look better in a monochrome night shot!
For Tues. Apr. 9, 2024.
Participation badge from Canada's Centennial Athletics Award Programme (Sept. 1966 to Dec. 1967).
An unidentified Hitachi Intercity Express Programme Bi-Mode DMU crosses over the River Tamar from Devon to Cornwall.
The refurbishment programme started in 1988 to update the 4-VEP EMU's was a long drawn out affair driven by the fact BR had no spare stock so units were rebuilt on a largely one in and one out of works basis so the overhaul programme took seven years to complete. The units gained new lighting and a public address system but the biggest change was to the Motor Coach which was almost 50% guards brake and luggage/parcels van on the original sets. The refurbished sets saw the brake van area reduced by half with additional seating bays. To speed up overhauls BR had several motor coaches from disbanded sets and seeing as these vehicles took longest in works most sets ended up with motor coaches from other units after overhaul.
Set 3471 seen here was outshopped from Eastleigh Works after its mid life refurbishment in April 1989 and comprised vehicles from class 423/0 set 3084 and the motor coach from 3108. The unit is standing at Maidstone East while working train 1N62 the 10.50 Ramsgate to London Charing Cross.
Using a programme called Tilting Sun and taking the middle exposure imaging time from my Prominence captures of 20 August (www.flickr.com/photos/76699751@N07/29007261792/in/datetaken/), I can work out the tilt and rotation of the sun and where my image overlays at the time. Also shown here are the 109 Earth's stacked across the diameter of the sun in fairly even measure to arrive at the scaling for Earth (zoom in you will see them!). Taking the Sun as 861,800 miles (1,390,000 kilometers) in diameter and dividing that by Earth at 7909 miles (12,756 kilometers) gives 108.9 rounded to 109 Earths fitting across the diameter of the sun.
Bill Kaulitz of the band Tokio Hotel performs during the German TV game show "Wetten Dass" (Bet it...?) in Freiburg October 3. Wetten Dass is one of the most popular Saturday night programmes in Germany. REUTERS/Johannes Eisele (ENTERTAINMENT)
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The EAP, built by BAE Systems predecessor company British Aerospace (BAe), was the most advanced fighter design ever built solely by a UK manufacturer; its purpose being to bring together technologies applicable to future advanced agile aircraft. This twin engine, single seat aircraft of canard delta configuration was designed for close air combat/air superiority and battlefield close air support.
Admire the fabulous program that this festival offered to all those who had the chance to participate!
* * *
Admirez le fabuleux programme qu'offrait ce festival à toutes celles et qui ceux qui eurent le chance d'y participer !
Visiting Alford Museum I was delighted to find this genuine Dalek from the BBC Television Show "Dr Who", it was displayed among other materials from the 70s etc, hence a quick video to archive the scene.
I've followed the Dr Who series from my school days ( a long time ago) hence absolute joy to view this item.
The Daleks - (DAH-leks) are a fictional extraterrestrial race of mutants principally portrayed in the British science fiction television programme Doctor Who. The Daleks were conceived by science-fiction writer Terry Nation and first appeared in the 1963 Doctor Who serial The Daleks, in the shells designed by Raymond Cusick.
Drawing inspirations from the real-life example of the Nazis, the Daleks are merciless and pitiless cyborg aliens, demanding total conformity, bent on conquest of the universe and the extermination of what they see as inferior races.
Their catchphrase, "Exterminate!", is a well-recognised reference in British popular culture.
Within the programme's narrative, the Daleks were engineered by the scientist Davros during the final years of a thousand-year war between his people, the Kaleds, and their enemies the Thals.
With some Kaleds already badly mutated and damaged by nuclear war, Davros genetically modified the Kaleds and integrated them with a tank-like, robotic shell, removing their every emotion apart from hate. His creations soon came to view themselves as the supreme race in the universe, intent on purging the universe of all non-Dalek life. Collectively they are the greatest enemies of Doctor Who's protagonist, the Time Lord known as The Doctor.
Later in the programme's run, the Daleks acquired time travel technology and engaged the Time Lords in a brutal Time War affecting most of the universe, with battles taking place across all of history.
They are among the show's most popular villains and their various returns to the series over the years have typically been widely reported in the television press.
Creation
The Daleks were created by writer Terry Nation and designed by BBC designer Raymond Cusick.
They were introduced in December 1963 in the second Doctor Who serial, colloquially known as The Daleks.
They became an immediate and huge hit with viewers, featuring in many subsequent serials and two 1960s motion pictures.
They have become as synonymous with Doctor Who as the Doctor himself, and their behaviour and catchphrases are now part of British popular culture. "Hiding behind the sofa whenever the Daleks appear" has been cited as an element of British cultural identity;and a 2008 survey indicated that nine out of ten British children were able to identify a Dalek correctly.
In 1999 a Dalek photographed by Lord Snowdon appeared on a postage stamp celebrating British popular culture.
In 2010, readers of science-fiction magazine SFX voted the Dalek as the all-time greatest monster, beating competition including Japanese movie monster Godzilla and J. R. R. Tolkien's Gollum, of The Lord of the Rings.
Entry into popular culture
As early as one year after first appearing on Doctor Who, the Daleks had become popular enough to be recognized even by non-viewers. In December 1964 editorial cartoonist Leslie Gilbert Illingworth published a cartoon in the Daily Mail captioned "THE DEGAULLEK", caricaturing French President Charles de Gaulle arriving at a NATO meeting as a Dalek with de Gaulle's prominent nose.
The word "Dalek" has entered major dictionaries, including the Oxford English Dictionary, which defines "Dalek" as "a type of robot appearing in 'Dr. Who' [sic], a B.B.C. Television science-fiction programme; hence used allusively."
But English-speakers sometimes use the term metaphorically to describe people, usually authority figures, who act like robots unable to break from their programming. For example, John Birt, the Director-General of the BBC from 1992 to 2000, was publicly called a "croak-voiced Dalek" by playwright Dennis Potter in the MacTaggart Lecture at the 1993 Edinburgh Television Festival.
Physical characteristics
Externally, Daleks resemble human-sized pepper pots with a single mechanical eyestalk mounted on a rotating dome, a gun mount containing an energy weapon ("gunstick" or "death ray") resembling an egg whisk, and a telescopic manipulator arm usually tipped by an appendage resembling a sink plunger. Daleks have been known to use their plungers to interface with technology, crush a man's skull by suction,[measure the intelligence of a subject, and extract information from a man's mind.[
Dalek casings are made of a bonded polycarbide material dubbed "dalekanium" by a member of the human resistance in The Dalek Invasion of Earth and by the Cult of Skaro in "Daleks in Manhattan".
The lower half of a Dalek's shell is covered with hemispherical protrusions, or "Dalek bumps", which are shown in the episode "Dalek" to be spheres embedded in the casing.[11] Both the BBC-licensed Dalek Book (1964) and The Doctor Who Technical Manual (1983) describe these items as being part of a sensory array,[ whilst in the 2005 series episode "Dalek", they are integral to a Dalek's self-destruct mechanism.
Their armour has a forcefield that evaporates most bullets and resists most types of energy weapons. The forcefield seems to be concentrated around the Dalek's midsection (where the mutant is located), as normally ineffective firepower can be concentrated on the eyestalk to blind a Dalek. Daleks have a very limited visual field, with no peripheral sight at all, and are relatively easy to hide from in fairly exposed places. Their own energy weapons are capable of destroying them.
Their weapons fire a beam that has electrical tendencies, is capable of propagating through water, and may be a form of plasma or electrolaser.
The eyepiece is a Dalek's most vulnerable spot; impairing its vision often leads to a blind, panicked firing of its weapon while exclaiming "My vision is impaired; I cannot see!" Russell T Davies subverted the catchphrase in his 2008 episode "The Stolen Earth", in which a Dalek vaporises a paintball that has blocked its vision while proclaiming "My vision is not impaired!"
Kaled mutants are octopus-like; many are coloured green, such as this one from "Resurrection of the Daleks".
The creature inside the mechanical casing is soft and repulsive in appearance and vicious in temperament. The first-ever glimpse of a Dalek mutant, in The Daleks, was a claw peeking out from under a Thal cloak after it had been removed from its casing.
The mutants' actual appearance has varied, but often adheres to the Doctor's description of the species in Remembrance of the Daleks as "little green blobs in bonded polycarbide armour".
In Resurrection of the Daleks a Dalek creature, separated from its casing, attacks and severely injures a human soldier; in Remembrance of the Daleks, there are two Dalek factions (Imperial and Renegade) and the creatures inside have a different appearance in each case, one resembling the amorphous creature from Resurrection, the other the crab-like creature from the original Dalek serial.
As the creature inside is rarely seen on screen, a common misconception exists that Daleks are wholly mechanical robots.
In the new series Daleks are retconned to be mollusc-like in appearance, with small tentacles, one or two eyes, and an exposed brain.
Daleks' voices are electronic; when out of its casing the mutant is only able to squeak. Once the mutant is removed, the casing itself can be entered and operated by humanoids; for example, in The Daleks, Ian Chesterton (William Russell) enters a Dalek shell to masquerade as a guard as part of an escape plan.
In a dark basement, a white Dalek (see previous description) appears to levitate up a small staircase of approximately seven stairs. The body of the Dalek is white, with shiny gold vertical slats and gold balls on its lower half. There is an orange-yellow glow at the Dalek's base.
For many years it was assumed that, due to their design and gliding motion, Daleks were unable to climb stairs, and that this was a simple way of escaping them. A well-known cartoon from Punch pictured a group of Daleks at the foot of a flight of stairs with the caption, "Well, this certainly buggers our plan to conquer the Universe".
In a scene from the serial Destiny of the Daleks, the Doctor and companions escape from Dalek pursuers by climbing into a ceiling duct. The Fourth Doctor calls down, "If you're supposed to be the superior race of the universe, why don't you try climbing after us?"
The Daleks generally make up for their lack of mobility with overwhelming firepower; a joke among Doctor Who fans goes, "Real Daleks don't climb stairs; they level the building."
Dalek mobility has improved over the history of the series: in their first appearance, The Daleks, they were capable of movement only on the conductive metal floors of their city; in The Dalek Invasion of Earth a Dalek emerges from the waters of the River Thames, indicating that they not only had become freely mobile, but are amphibious;Planet of the Daleks showed that they could ascend a vertical shaft by means of an external anti-gravity mat placed on the floor; Revelation of the Daleks showed Davros in his life-support chair and one of his Daleks hovering and Remembrance of the Daleks depicted them as capable of hovering up a flight of stairs.
Despite this, journalists covering the series frequently refer to the Daleks' supposed inability to climb stairs; characters escaping up a flight of stairs in the 2005 episode "Dalek" made the same joke, and were shocked when the Dalek began to hover up the stairs after uttering the phrase "ELEVATE", in a similar manner to their normal phrase "EXTERMINATE".
The new series depicts the Daleks as fully capable of flight, even space flight.
Prop details
The non-humanoid shape of the Dalek did much to enhance the creatures' sense of menace[citation needed]. A lack of familiar reference points differentiated them from the traditional "bug-eyed monster" of science fiction, which Doctor Who creator Sydney Newman had wanted the show to avoid.
The unsettling Dalek form, coupled with their alien voices, made many believe that the props were wholly mechanical and operated by remote control.
The Daleks were actually controlled from inside by short operators who had to manipulate their eyestalks, domes, and arms, as well as flashing the lights on their heads in sync with the actors supplying their voices. The Dalek cases were built in two pieces; an operator would step into the lower section, and then the top would be secured. The operators looked out between the cylindrical louvres just beneath the dome, which were lined with mesh to conceal their faces.
In addition to being hot and cramped the Dalek casings also muffled external sounds, making it difficult for operators to hear the director's commands or studio dialogue. John Scott Martin, a Dalek operator from the original series, said that Dalek operation was a challenge: "You had to have about six hands: one to do the eyestalk, one to do the lights, one for the gun, another for the smoke canister underneath, yet another for the sink plunger. If you were related to an octopus then it helped."
For Doctor Who's 21st-century revival the Dalek casings retain the same overall shape and dimensional proportions of previous Daleks, although many details have been re-designed to give the Dalek a heavier and more solid look.
Changes include a larger, more pointed base; a glowing eyepiece; an all-over metallic-brass finish (specified by Davies); thicker, nailed strips on the "neck" section; a housing for the eyestalk pivot; and significantly larger dome lights.
The new prop made its on-screen debut in the 2005 episode "Dalek". These Dalek casings use a short operator inside the housing while the 'head' and eyestalk are operated via remote control. A third person, Nicholas Briggs, supplies the voice in their various appearances.
In the 2010 season a new, larger model appeared in several colours representing different parts of the Dalek command hierarchy.
Movement
Terry Nation's original plan was for the Daleks to glide across the floor. Early versions of the Daleks rolled on nylon castors, propelled by the operator's feet. Although castors were adequate for the Daleks' debut serial, which was shot entirely at the BBC's Lime Grove Studios, for The Dalek Invasion of Earth Terry Nation wanted the Daleks to be filmed on the streets of London. To enable the Daleks to travel smoothly on location, designer Spencer Chapman built the new Dalek shells around miniature tricycles with sturdier wheels, which were hidden by enlarged fenders fitted below the original base.
The uneven flagstones of Central London caused the Daleks to rattle as they moved and it was not possible to remove this noise from the final soundtrack. A small parabolic dish was added to the rear of the prop's casing to explain why these Daleks, unlike the ones in their first serial, were not dependent on static electricity drawn up from the floors of the Dalek city for their motive power.
Later versions of the prop had more efficient wheels and were once again simply propelled by the seated operators' feet, but they remained so heavy that when going up ramps they often had to be pushed by stagehands out of camera shot. The difficulty of operating all the prop's parts at once contributed to the occasionally jerky Dalek movements.
This problem has largely been eradicated with the advent of the "new series" version, as its remotely controlled dome and eyestalk allow the operator to concentrate on the smooth movement of the Dalek and its arms.
Voices
The staccato delivery, harsh tone, and rising inflection of the Dalek voice were initially developed by voice actors Peter Hawkins and David Graham, who would vary the pitch and speed of the lines according to the emotion needed. Their voices were further processed electronically by Brian Hodgson at the BBC Radiophonic Workshop.
Although the exact sound-processing devices used have varied, the original 1963 effect used equalisation to boost the mid-range of the actor's voice, then subjected it to ring modulation with a 30 Hz sine wave. The distinctive harsh grating vocal timbre this produced has remained the pattern for all Dalek voices since (with the exception of those in the 1985 serial Revelation of the Daleks, for which director Graeme Harper deliberately used less distortion).
Besides Hawkins and Graham, notable voice actors for the Daleks have included Roy Skelton, who first voiced the Daleks in the 1967 story The Evil of the Daleks and went on to provide voices for five additional Dalek serials including Planet of the Daleks, and for the one-off anniversary special The Five Doctors. Michael Wisher, the actor who originated the role of Dalek creator Davros in Genesis of the Daleks, provided Dalek voices for that same story, as well as for Frontier in Space, Planet of the Daleks, and Death to the Daleks. Other Dalek voice actors include Royce Mills (three stories),Brian Miller (two stories), and Oliver Gilbert and Peter Messaline (one story).
John Leeson, who performed the voice of K9 in several Doctor Who stories, and Davros actors Terry Molloy and David Gooderson also contributed supporting voices for various Dalek serials.
Since 2005, the Dalek voice in the television series has been provided by Nicholas Briggs, speaking into a microphone connected to a voice modulator.
Briggs had previously provided Dalek and other alien voices for Big Finish Productions audio plays, and continues to do so. In a 2006 BBC Radio interview, Briggs said that when the BBC asked him to do the voice for the new television series, they instructed him to bring his own analogue ring modulator that he had used in the audio plays. The BBC's sound department had changed to a digital platform and could not adequately create the distinctive Dalek sound with their modern equipment. Briggs went as far as to bring the voice modulator to the actors' readings of the scripts.
Construction
Manufacturing the props was expensive. In scenes where many Daleks had to appear, some of them would be represented by wooden replicas (Destiny of the Daleks) or life-size photographic enlargements in the early black-and-white episodes (The Daleks, The Dalek Invasion of Earth, and The Power of the Daleks).
In stories involving armies of Daleks, the BBC effects team even turned to using commercially available toy Daleks, manufactured by Louis Marx & Co and Herts Plastic Moulders Ltd. Examples of this can be observed in the serials The Power of the Daleks, The Evil of the Daleks, and Planet of the Daleks.[48] Judicious editing techniques also gave the impression that there were more Daleks than were actually available, such as using a split screen in "The Parting of the Ways".
Four fully functioning props were commissioned for the first serial "The Daleks" in 1963, and were constructed from BBC plans by Shawcraft Engineering.
These became known in fan circles as "Mk I Daleks". Shawcraft were also commissioned to construct approximately 20 Daleks for the two Dalek movies in 1965 and 1966 (see below). Some of these movie props filtered back to the BBC and were seen in the televised serials, notably The Chase, which was aired before the first movie's debut. The remaining props not bought by the BBC were either donated to charity or given away as prizes in competitions.
The BBC's own Dalek props were reused many times, with components of the original Shawcraft "Mk I Daleks" surviving right through to their final classic series appearance in 1988.
But years of storage and repainting took their toll. By the time of the Sixth Doctor's Revelation of the Daleks new props were being manufactured out of fibreglass.
These models were lighter and more affordable to construct than their predecessors. These newer models were slightly bulkier in appearance around the mid-shoulder section, and also had a redesigned skirt section which was more vertical at the back. Other minor changes were made to the design due to these new construction methods, including altering the fender and incorporating the arm boxes, collars, and slats into a single fibreglass moulding.
These props were repainted in grey for the Seventh Doctor serial Remembrance of the Daleks and designated as "Renegade Daleks"; another redesign, painted in cream and gold, became the "Imperial Dalek" faction.
New Dalek props were built for the 21st century version of Doctor Who. The first, which appeared alone in the 2005 episode "Dalek", was built by modelmaker Mike Tucker.
Additional Dalek props based on Tucker's master were subsequently built out of fibreglass by Cardiff-based Specialist Models.
Development
Wishing to create an alien creature that did not look like a "man in a suit", Terry Nation stated in his script for the first Dalek serial that they should have no legs. He was also inspired by a performance by the Georgian National Ballet, in which dancers in long skirts appeared to glide across the stage.[56] For many of the shows, the Daleks were operated by retired ballet dancers wearing black socks while sitting inside the Dalek. Raymond Cusick (who died on 21 February 2013) was given the task of designing the Daleks when Ridley Scott, then a designer for the BBC, proved unavailable after having been initially assigned to their debut serial.
An account in Jeremy Bentham's Doctor Who—The Early Years (1986) says that after Nation wrote the script, Cusick was given only an hour to come up with the design for the Daleks, and was inspired in his initial sketches by a pepper shaker on a table. Cusick himself, however, states that he based it on a man seated in a chair, and only used the pepper shaker to demonstrate how it might move.
In 1964 Nation told a Daily Mirror reporter that the Dalek name came from a dictionary or encyclopaedia volume, the spine of which read "Dal – Lek" (or, according to another version, "Dal – Eks"). He later admitted that this book and the origin of the Dalek name was completely fictitious, and that anyone bothering to check out his story would have found him out.[61] The name had in reality simply rolled off his typewriter.
Later, Nation was pleasantly surprised to discover that in Serbo-Croatian the word "dalek" means "far", or "distant".
Nation grew up during World War II, and remembered the fear caused by German bombings. He consciously based the Daleks on the Nazis, conceiving the species as faceless, authoritarian figures dedicated to conquest and complete conformity. The allusion is most obvious in the Dalek stories penned by Nation, in particular The Dalek Invasion of Earth (1964) and Genesis of the Daleks (1975).
Prior to writing the first Dalek serial, Nation was chief scriptwriter for comedian Tony Hancock. The two had a falling out, and Nation either resigned or was fired.
When Hancock left the BBC, he worked on several series proposals, one of which was called From Plip to Plop, a comedic history of the world which would have ended with a nuclear apocalypse, the survivors being reduced to living in dustbin-like robot casings and eating radiation to stay alive. According to biographer Cliff Goodwin, when Hancock saw the Daleks, he allegedly shouted at the screen, "That bloody Nation—he's stolen my robots!"[69]
The naming of early Doctor Who stories is complex and sometimes controversial. The first Dalek serial is called, variously, The Survivors (the pre-production title), The Mutants (its official title at the time of production and broadcast, later taken by another unrelated story), Beyond the Sun (used on some production documentation), The Dead Planet (the on-screen title of the serial's first episode), or simply The Daleks.
The instant appeal of the Daleks caught the BBC off guard,and transformed Doctor Who from a Saturday tea-time children's educational programme to a must-watch national phenomenon. Children were alternately frightened and fascinated by the alien look of the monsters, and the Doctor Who production office was inundated by letters and calls asking about the creatures. Newspaper articles focused attention on the series and the Daleks, further enhancing their popularity.
Nation jointly owned the intellectual property rights to the Daleks with the BBC, and the money-making concept proved nearly impossible to sell to anyone else; he was dependent on the BBC wanting to produce stories featuring the creatures.
Several attempts to market the Daleks outside of the series were unsuccessful.Since Nation's death in 1997, his share of the rights is now administered by his former agent, Tim Hancock.
Early plans for what eventually became the 1996 Doctor Who television movie included radically redesigned Daleks whose cases unfolded like spiders' legs. The concept for these "Spider Daleks" was abandoned, but picked up again in several Doctor Who spin-offs.
When the new series was announced, many fans hoped the Daleks would return once more to the programme.
The Nation estate however demanded levels of creative control over the Daleks' appearances and scripts that were unacceptable to the BBC.[80] Eventually the Daleks were cleared to appear in the first series.
Fictional history
Main article: History of the Daleks
Dalek in-universe history has seen many retroactive changes, which have caused continuity problems. When the Daleks first appeared, they were presented as the descendants of the Dals, mutated after a brief nuclear war between the Dal and Thal races 500 years ago. This race of Daleks is destroyed when their power supply is wrecked.
However, when they reappear in The Dalek Invasion of Earth, they have conquered Earth in the 22nd century. Later stories saw them develop time travel and a space empire. In 1975, Terry Nation revised the Daleks' origins in Genesis of the Daleks, where the Dals were now called Kaleds (of which "Daleks" is an anagram), and the Dalek design was attributed to one man, the crippled Kaled chief scientist and evil genius, Davros.[84] Instead of a short nuclear exchange, the Kaled-Thal war was portrayed as a thousand-year-long war of attrition, fought with nuclear, biological and chemical weapons which caused widespread mutations among the Kaled race.
Davros experimented on living Kaled cells to find the ultimate mutated form of the Kaled species and placed the subjects in tank-like "travel machines" whose design was based on his own life-support chair.
Genesis of the Daleks marked a new era for the depiction of the species, with most of their previous history either forgotten or barely referred to again.Future stories in the original Doctor Who series, which followed a rough story arc,would also focus more on Davros, much to the dissatisfaction of some fans who felt that the Daleks should take centre stage rather than merely becoming minions of their creator.
Davros made his last televised appearance for 20 years in Remembrance of the Daleks, which depicted a civil war between two factions of Daleks. One faction, the "Imperial Daleks", were loyal to Davros, who had become their Emperor, whilst the other, the "Renegade Daleks", followed a black Supreme Dalek. By the end of the story, both factions have been wiped out and the Doctor has tricked them into destroying Skaro, though Davros escapes.
A single Dalek appeared in "Dalek", written by Robert Shearman, which was broadcast on BBC One on 30 April 2005. This Dalek appeared to be the sole Dalek survivor of the Time War which had destroyed both the Daleks and the Time Lords.
A Dalek Emperor returned at the end of the 2005 series, having rebuilt the Dalek race with genetic material harvested from human subjects. It saw itself as a god, and the new Daleks were shown worshipping it. These Daleks and their fleet were destroyed in "The Parting of the Ways".
The 2006 season finale "Army of Ghosts"/"Doomsday" featured a squad of four Dalek survivors from the old Empire, known as the Cult of Skaro, led by a black Dalek known as "Sec", that had survived the Time War by escaping into the Void between dimensions. They emerged, along with the Genesis Ark, a Time Lord prison vessel containing millions of Daleks, at Canary Wharf due to the actions of the Torchwood Institute and Cybermen from a parallel world.
This resulted in a Cyberman-Dalek clash in London, which was resolved when the Tenth Doctor caused both groups to be sucked back into the Void. The Cult survived by utilising an "emergency temporal shift" to escape.
These four Daleks - Sec, Jast, Thay and Caan - returned in the two-part story "Daleks in Manhattan"/"Evolution of the Daleks", in which whilst stranded in 1930s New York, they set up a base in the partially built Empire State Building and attempt to rebuild the Dalek race. To this end, Dalek Sec merges with a human being to become a Human/Dalek hybrid. The Cult then set about creating "Human Daleks" by "formatting" the brains of a few thousand captured humans, with the intention of producing hybrids which remain fully human in appearance but with Dalek minds.[
Dalek Sec, however, starts to become so human that he changes the DNA to make the hybrids more human. This angers the rest of the Cult, resulting in mutiny and the death of Sec, Thay and Jast as well as the wiping out of all the hybrids. This leaves Dalek Caan as the last Dalek in existence. When the Doctor makes Caan realise that he is the last of his kind, Caan uses emergency temporal shift and escapes once more.
The Daleks returned in the 2008 season's two-part finale, "The Stolen Earth"/"Journey's End", accompanied once again by their creator Davros. The story reveals that Caan's temporal shift sent him into the Time War whence he rescued Davros, in the process gaining the ability to see the future at the cost of his own sanity. Davros has created a new race using his own body's cells.
The episode depicts a Dalek invasion of Earth, which with other planets is taken to the Medusa Cascade, led by a red Supreme Dalek, who has kept Caan and Davros imprisoned in "The Vault", a section of the Dalek flagship, the Crucible. Davros and the Daleks plan to destroy reality itself with a "reality bomb" for which they need the stolen planets. The plan fails due to the interference of Donna Noble, a companion of the Doctor, and Caan himself, who has been manipulating events to destroy the Daleks after realising the severity of the atrocities they have committed.
The Daleks returned in the 2010 episode "Victory of the Daleks", the third episode of the series; Daleks who escaped the destruction of Davros' empire fell back in time and, by chance, managed to retrieve the "Progenitor".
This is a tiny apparatus which contains 'original' Dalek DNA. The activation of the Progenitor results in the creation of a "new paradigm" of Daleks. The New Paradigm Daleks deem their creators inferior and exterminate them; their creators make no resistance to this, deeming themselves inferior as well. They are organised into different roles (drone, scientist, strategists, supreme and eternal), which are identifiable with colour-coded armour instead of the identification plates under the eyestalk used by their predecessors. They escape the Doctor at the end of the episode via time travel with the intent to rebuild their Empire.
The Daleks only appeared briefly in subsequent finales "The Pandorica Opens"/"The Big Bang" (2010) and The Wedding of River Song (2011) as Steven Moffat decided to "give them a rest" and stated "There's a problem with the Daleks. They are the most famous of the Doctor's adversaries and the most frequent, which means they are the most reliably defeatable enemies in the universe."
They next appear in "Asylum of the Daleks" (2012), where the Daleks are shown to have greatly increased numbers and have a Parliament; in addition to the traditional "modern" Daleks, several designs from both the original and new series appear. All record of the Doctor is removed from their collective consciousness at the end of the episode. The Daleks then appear in the 50th Anniversary special "The Day of the Doctor", where they are seen being defeated in the Time War. In "The Time of the Doctor", the Daleks are one of the races that travel to Trenzalore and besiege it for centuries to stop the Doctor from releasing the Time Lords.
Due to converting Tasha Lem into a Dalek puppet, they regain knowledge of the Doctor. In the end, they are the only enemy left, the others having retreated or been destroyed and nearly kill the near-death Doctor before the Time Lords intervene and grant him a new regeneration cycle. The Doctor then uses his regeneration energy to obliterate the Daleks on the planet.
The Twelfth Doctor's first encounter with the Daleks is in his second full episode, "Into the Dalek" (2014), where he encounters a damaged Dalek, which he names 'Rusty', aboard a human resistance ship. Left with the Doctor's love of the universe and his hatred of the Daleks, he spares its life; it assumes a mission to destroy other Daleks. In "The Magician's Apprentice"/"The Witch's Familiar" (2015), the Doctor is summoned to Skaro where he learns Davros is alive, but dying, and has rebuilt the Dalek Empire. He escapes Davros' clutches by enlivening the decrepit Daleks of Skaro's sewers, who tear the empire apart, leaving behind the Master (Michelle Gomez), who accompanied him to Skaro. In "The Pilot" (2017), the Doctor briefly visits a battle in the Dalek-Movellan war while trying to escape a time travelling enemy.
Dalek culture
Daleks have little, if any, individual personality, ostensibly no emotions other than hatred and anger,[11] and a strict command structure in which they are conditioned to obey superiors' orders without question.
Dalek speech is characterised by repeated phrases, and by orders given to themselves and to others.
Unlike the stereotypical emotionless robots often found in science fiction, Daleks are often angry; author Kim Newman has described the Daleks as behaving "like toddlers in perpetual hissy fits", gloating when in power and flying into rage when thwarted.
They tend to be excitable and will repeat the same word or phrase over and over again in heightened emotional states, most famously "Exterminate! Exterminate!"
Daleks are extremely aggressive, and seem driven by an instinct to attack. This instinct is so strong that Daleks have been depicted fighting the urge to kill or even attacking when unarmed.
The Fifth Doctor characterises this impulse by saying, "However you respond [to Daleks] is seen as an act of provocation."
The fundamental feature of Dalek culture and psychology is an unquestioned belief in the superiority of the Dalek race,and their default directive is to destroy all non-Dalek life-forms.[
Other species are either to be exterminated immediately or enslaved and then exterminated once they are no longer useful.
The Dalek obsession with their own superiority is illustrated by the schism between the Renegade and Imperial Daleks seen in Revelation of the Daleks and Remembrance of the Daleks: the two factions each consider the other to be a perversion despite the relatively minor differences between them.
This intolerance of any "contamination" within themselves is also shown in "Dalek", The Evil of the Daleks and in the Big Finish Productions audio play The Mutant Phase.
This superiority complex is the basis of the Daleks' ruthlessness and lack of compassion.[11][93] This is shown in extreme in "Victory of the Daleks", where the new, pure Daleks destroy their creators, impure Daleks, with the latters' consent. It is nearly impossible to negotiate or reason with a Dalek, a single-mindedness that makes them dangerous and not to be underestimated.
The Eleventh Doctor (Matt Smith) is later puzzled in the "Asylum of the Daleks" as to why the Daleks don't just kill the sequestered ones that have "gone wrong". Although the Asylum is subsequently obliterated, the Prime Minister of the Daleks explains that "it is offensive to us to destroy such divine hatred", and the Doctor is sickened at the revelation that hatred is actually considered beautiful by the Daleks.
Dalek society is depicted as one of extreme scientific and technological advancement; the Third Doctor states that "it was their inventive genius that made them one of the greatest powers in the universe."
However, their reliance on logic and machinery is also a strategic weakness which they recognise, and thus use more emotion-driven species as agents to compensate for these shortcomings.
Although the Daleks are not known for their regard for due process, they have taken at least two enemies back to Skaro for a "trial", rather than killing them immediately. The first was their creator, Davros, in Revelation of the Daleks,[39] and the second was the renegade Time Lord known as the Master in the 1996 television movie.[98] The reasons for the Master's trial, and why the Doctor would be asked to retrieve the Master's remains, have never been explained on screen.
The Doctor Who Annual 2006 implies that the trial may have been due to a treaty signed between the Time Lords and the Daleks. The framing device for the I, Davros audio plays is a Dalek trial to determine if Davros should be the Daleks' leader once more.
Spin-off novels contain several tongue-in-cheek mentions of Dalek poetry, and an anecdote about an opera based upon it, which was lost to posterity when the entire cast was exterminated on the opening night. Two stanzas are given in the novel The Also People by Ben Aaronovitch.
In an alternative timeline portrayed in the Big Finish Productions audio adventure The Time of the Daleks, the Daleks show a fondness for the works of Shakespeare.
A similar idea was satirised by comedian Frankie Boyle in the BBC comedy quiz programme Mock the Week; he gave the fictional Dalek poem "Daffodils; EXTERMINATE DAFFODILS!" as an "unlikely line to hear in Doctor Who".
Because the Doctor has defeated the Daleks so often, he has become their collective arch-enemy and they have standing orders to capture or exterminate him on sight. In later fiction, the Daleks know the Doctor as "Ka Faraq Gatri" ("Bringer of Darkness" or "Destroyer of Worlds"), and "The Oncoming Storm".
Both the Ninth Doctor (Christopher Eccleston) and Rose Tyler (Billie Piper) suggest that the Doctor is one of the few beings the Daleks fear. In "Doomsday", Rose notes that while the Daleks see the extermination of five million Cybermen as "pest control", "one Doctor" visibly un-nerves them (to the point they physically recoil).[13] To his indignant surprise, in "Asylum of the Daleks", the Eleventh Doctor (Matt Smith) learns that the Daleks have designated him as "The Predator".
As the Doctor escapes the Asylum (with companions Amy and Rory), a Dalek-converted-human (Oswin Oswald) prisoner provides critical assistance, which culminates in completely deleting the Doctor from the Dalek hive-consciousness (the PathWeb), thus wiping the slate entirely blank. However, this was reversed in "The Time of the Doctor", when the Daleks regained knowledge of the Doctor through the memory of an old acquaintance of the Doctor, Tasha Lem.
Measurements
A rel is a Dalek and Kaled unit of measurement. It was usually a measurement of time, with a duration of slightly more than one second, as mentioned in "Doomsday", "Evolution of the Daleks" and "Journey's End", counting down to the ignition of the reality bomb. (One earth minute most likely equals about 50 rels.) However, in some comic books it was also used as a unit of velocity. Finally, in some cases it was used as a unit of hydroelectric energy (not to be confused with a vep, the unit used to measure artificial sunlight).
The rel was first used in the non-canonical feature film Daleks – Invasion Earth: 2150 A.D., soon after appearing in early Doctor Who comic books.
Le 31 janvier 1971 commença la troisième mission sur le sol lunaire et la huitième du programme Apollo. Les astronautes Roosa et Mitchell accompagnaient le commandant Shepard qui à 47 ans allait être l'astronaute le plus âgé à marcher sur la Lune. Leur mission était celle initialement dévolue à Apollo 13, un vol qui avait failli tourner au cauchemar en avril 1970. Shepard et ses collègues devaient explorer une région accidentée, formée par une accumulation d'éjectas provenant de l'impact météoritique à l'origine de la formation de la mer des Ombres. L'objectif principal de la mission : récolter des échantillons près du Cone Crater et le long du trajet. Même si le LEM s'est posé le plus près possible du cratère, il restait environ 1300 mètres à parcourir à pied, avec un dénivelé d'environ 100 m.
Le Modular Equipment Transporter (MET), ou encore lunar tool cart, est un chariot conçu par la NASA en 1970, pour le transport de l'équipement et des échantillons de roches à la surface de la Lune. C’est un chariot à 2 roues surmontées de garde-boue pour éviter des soulèvements de poussière lunaire, qui est très collante. De type "pousse-pousse" le MET est constitué d'une structure tubulaire (en aluminium), de 2 pieds sur l'avant pour assurer une bonne stabilité à l'arrêt, et d'un bras d'extension avant avec une simple poignée pour le tracter. Il pèse 13,6 kg, peut transporter jusqu'à 160 kg et ses dimensions sont : 2,184 m de long, 0,990 m de large et 0,812 m de haut. Les deux pneus en caoutchouc (10 cm de large et 40,6 cm de diamètre) sont remplis d’azote et ont été conçus par Goodyear Tire and Rubber Company et répondent au petit nom de Experimental Lunar Tires (XLT). Goodyear a résolu le problème de pression manométrique en demandant à la NASA de gonfler partiellement la chambre à air avec de l'azote, de sorte qu'elle atteigne 1,5 psi sur la Lune. Les limites de fonctionnement des pneus du MET sont de - 56,66° C à 121,11° C.
Bien que décrite comme « adéquate », la performance du MET a déçu les astronautes Shepard et Mitchell à travers le terrain lunaire accidenté, le MET ayant tendance à rebondir dans tous les sens, obligeant les astronautes à adopter une marche « terrienne lente » et plus fatigante que les « sauts de kangourou », plus efficaces en faible gravité. Ils ont même dû porter ensemble le MET car il était trop difficile de le tirer. Ce sera la première et la dernière fois que cette remorque sera utilisée, les missions suivantes offrant l'utilisation du rover lunaire.
On January 31, 1971 began the third mission on the lunar ground and the eighth of the Apollo program. Astronauts Roosa and Mitchell accompanied Commander Shepard, who at 47 was going to be the oldest astronaut to walk on the moon. Their mission was that of Apollo 13, a flight that almost turned into a nightmare in April 1970. Shepard and his colleagues had to explore a rugged region, consisting of an accumulation of ejecta from the meteorite impact at the origin of the formation of the Sea of Shadows. The main objective of the mission is to collect samples near the Cone Crater and along the way. Even though the LEM landed as close as possible to the crater, there remained about 1300 meters to walk, with a vertical drop of about 100 m.
The Modular Equipment Transporter (MET), or lunar tool cart, is a cart designed by NASA in 1970 to transport equipment and rock samples to the Moon's surface. It is a two-wheeled trolley topped with mudguards to prevent lifting of lunar dust, which is very sticky. Rickshaw type MET consists of a tubular structure (aluminum), 2 feet on the front to ensure good stability at rest, and a front extension arm with a simple handle to pull it. It weighs 13.6 kg, can carry up to 160 kg and its dimensions are: 2.184 m long, 0.990 m wide and 0.812 m high. The two rubber tires (10 cm wide and 40.6 cm in diameter) are filled with nitrogen and have been designed by Goodyear Tire and Rubber Company and answer to the small name of Experimental Lunar Tires (XLT). Goodyear solved the pressure problem by asking NASA to partially inflate the tube with nitrogen, so that it reaches 1.5 psi on the moon. The operating limits of the MET tires are - 56.66 ° C to 121.11 ° C.
Although described as "adequate", the MET's performance disappointed astronauts Shepard and Mitchell across the rugged lunar terrain, with the MET tending to bounce back and forth, forcing astronauts to adopt a "slow earth" march and more tiring as "kangaroo jumps", more effective in low gravity. They even had to wear the MET together because it was too difficult to shoot. This will be the first and last time this trailer will be used, with the following missions offering lunar rover use.
The Jaguar programme began in the early 1960s, in response to a British requirement (Air Staff Target 362) for an advanced supersonic jet trainer to replace the Folland Gnat T1 and Hawker Hunter T7, and a French requirement (ECAT or École de Combat et d'Appui Tactique, "Tactical Combat Support Trainer") for a cheap, subsonic dual role trainer and light attack aircraft to replace the Fouga Magister, Lockheed T-33 and Dassault Mystère IV. In both countries several companies tendered designs: BAC, Hunting, Hawker Siddeley and Folland in Britain; Breguet, Potez, Sud-Aviation, Nord, and Dassault from France. A Memorandum of Understanding was signed in May 1965 for the two countries to develop two aircraft, a trainer based on the ECAT, and the larger AFVG (Anglo-French Variable Geometry)
Cross-channel negotiations led to the formation of SEPECAT (Société Européenne de Production de l'Avion d'École de Combat et d'Appui Tactique – the "European company for the production of a combat trainer and tactical support aircraft") in 1966 as a joint venture between Breguet and the British Aircraft Corporation to produce the airframe. Though based in part on the Breguet Br.121, using the same basic configuration and an innovative French-designed landing gear, the Jaguar was built incorporating major elements of design from BAC – notably the wing and high lift devices.
Production of components would be split between Breguet and BAC, and the aircraft themselves would be assembled on two production lines; one in the UK and one in France, To avoid any duplication of work, each aircraft component had only one source. The British light strike/tactical support versions were the most demanding design, requiring supersonic performance, superior avionics, a cutting edge nav/attack system of more accuracy and complexity than the French version, moving map display, laser range-finder and marked-target seeker (LRMTS). As a result, the initial Br.121 design needed a thinner wing, redesigned fuselage, a higher rear cockpit, and after-burning engines. While putting on smiling faces for the public, maintaining the illusion of a shared design, the British design defacto departed from the French sub-sonic Breguet 121 to such a degree that it was for all intents and purposes a new design.
A separate partnership was formed between Rolls-Royce and Turbomeca to develop the Adour afterburning turbofan engine. The Br.121 was proposed with Turbomeca's Tourmalet engine for ECAT but Breguet preferred the RR RB.172 and their joint venture would use elements of both. The new engine, which would be used for the AFVG as well, would be built in Derby and Tarnos.
Previous collaborative efforts between Britain and France had been complicated – the AFVG programme ended in cancellation, and controversy surrounded the development of the supersonic airliner Concorde. Whilst the technical collaboration between BAC and Breguet went well, when Dassault took over Breguet in 1971 it encouraged acceptance of its own designs, such as the Super Étendard naval attack aircraft and the Mirage F1, for which it would receive more profit, over the Anglo-French Jaguar.
The initial plan was for Britain to buy 150 Jaguar "B" trainers, with its strike requirements being met by the advanced BAC-Dassault AFVG aircraft, with France to buy 75 "E" trainers (école) and 75 "A" single-seat strike attack aircraft (appui). Dassault favoured its own Mirage G aircraft above the collaborative AFVG, and in June 1967, France cancelled the AFVG on cost grounds. This left a gap in the RAF's planned strike capabilities for the 1970s at the same time as France's cancellation of the AFVG, Germany was expressing a serious interest in the Jaguar, and thus the design became more oriented towards the low-level strike role.
The RAF had initially planned on a buy of 150 trainers; however, with both TSR2 and P.1154 gone, the RAF were looking increasingly hard at their future light strike needs and realizing that they now needed more than just advanced trainers with some secondary counter insurgency capability. The RAF's strike line-up was at this point intended to consist of American F-111s plus the AFVG for lighter strike purposes. There was concern that both F-111 and AFVG were high risk projects and with the French already planning on a strike role for the Jaguar, there was an opportunity to introduce a serious backup plan for the RAF's future strike needs - the Jaguar.
While the RAF had initially planned to buy 150 trainers, the TSR2 and p.1154 were gone, and believing that both the US F-111 and AFVG were high-risk programs, and with the French already planning a strike role for their Jaguar, the MOD suddenly realized they were in bad need of a new light strike aircraft capable of delivering tactical nuclear weapons. As a result, by October 1970, the RAF's requirements had changed to 165 single-seat strike aircraft and 35 trainers.
The Jaguar was to replace the McDonnell Douglas Phantom FGR2 in the close air support, tactical reconnaissance and tactical strike roles, freeing the Phantom to be used for air defence. Both the French and British trainer requirements had developed significantly, and were eventually fulfilled instead by the Alpha Jet and Hawker Siddeley Hawk respectively. The French, meanwhile, had chosen the Jaguar to replace the Aeronavale's Dassault Étendard IV, and increased their order to include an initial 40 of a carrier-capable maritime version of the Jaguar, the Jaguar M, for the Aeronavale. From these apparently disparate aims would come a single and entirely different aircraft: relatively high-tech, supersonic, and optimised for ground-attack in a high-threat environment.
The three tin foil bowls on the end of the lower arms indicate that this space vehicle has feet and is intended to land somewhere. This is reinforced by the fully-extended digger arm (surface sampler arm in NASA-speak) that today hangs even lower.
The Surveyor programme was run by NASA from June 1966 to January 1968, sending seven robotic spacecraft to the surface of the Moon. Seen above is a test article, a full-scale mock-up, which is now suspended from the ceiling in the Smithsonian's National Air and Space Museum on the Mall in Washington DC.
The programme's primary goal was to demonstrate the feasibility of soft landings on the Moon. The Surveyor craft were the first American spacecraft to achieve soft landing on an extraterrestrial body. The missions called for the craft to travel directly to the Moon on an impact trajectory, a journey that lasted 63-65 hours, and ended with a deceleration of just over three minutes to a soft landing.
The programme was implemented by NASA's Jet Propulsion Laboratory (JPL) to prepare for the Apollo programme. JPL selected Hughes Aircraft to develop the spacecraft system which was launched into space aboard an Atlas-Centaur rocket. The total cost of the Surveyor programme was officially $469 million.
Five of the Surveyor craft successfully soft-landed on the moon, including the first one. The other two failed: Surveyor 2 crashed at high velocity after a failed mid-course correction, and Surveyor 4 was lost to contact (possibly exploding) 2.5 minutes before its scheduled touch-down.
All seven spacecraft are still on the Moon; none of the missions included returning them to Earth. Some parts of Surveyor 3 were returned to Earth by the crew of Apollo 12, which landed near it in 1969. The camera from this craft is also on display at the National Air and Space Museum.
There is no sense of scale in the picture, but the whole craft is 3m high and 3.5m wide. Its sisters weighed 283 kg as they landed on the moon.
13 February, First day of Spring in Bengali Year...
Location: Fine Arts Institute, Dhaka, Bangladesh.
The Trade Facilitation Programme (TFP) currently includes over 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD partner banks the opportunity to review and discuss industry challenges, pricing, limits and trade opportunities with key industry specialists, regulators and representatives from the World Trade Organization, the International Chamber of Commerce HQ and local National ICC Committees.
It also featured the highly popular award ceremony for ‘The Most Active EBRD TFP Banks’ and ‘The Best Transaction of 2016’.
The Trade Facilitation Programme (TFP) currently includes over 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD partner banks the opportunity to review and discuss industry challenges, pricing, limits and trade opportunities with key industry specialists, regulators and representatives from the World Trade Organization, the International Chamber of Commerce HQ and local National ICC Committees.
It also featured the highly popular award ceremony for ‘The Most Active EBRD TFP Banks’ and ‘The Best Transaction of 2016’.
In Nepal, the Rural Women's Economic Empowerment Joint Programme, implemented by UN Women, Food and Agriculture Organization, International Fund for Agricultural Development and World Food Programme, and funded by a consortium of donors seeks to improve women farmers’ agricultural production and income, but also changed gender-discriminatory attitudes of their male counterparts.
Rural women form a large proportion of the agricultural labour force in Nepal and play a vital yet unrecognized role in agriculture that sustains nearly 80 percent of the population. Perceived mainly as care givers, their work in farming is largely undervalued. Women farmers are often paid less than men for the same work, and lack access to resources and markets due to discriminatory attitudes. However, since the launch of the Joint Programme, a new narrative is unfolding across the villages of Rauthat and Sindhuli districts.
As more Nepalese men migrate abroad to find work, an increasing number of rural women are taking up farming. By improving women’s agricultural production, access to markets and leadership skills, the programme has increased their income, food security and independence.
Pictured: Chandra Kala Thapa, one of many smallholder women farmers from Ranichuri village in Sindhuli district, was barely able to produce enough grains to feed her family. With support from the Joint Programme, she converted her field from grain production to high-value vegetables. “Now the prices are good and the money comes on time. This was not the case when I used to cultivate grains instead of high-value vegetables,” she says.
Photo: UN Women/Narendra Shrestha
Read More: www.unwomen.org/en/news/stories/2017/2/feature-women-farm...
Launch of the IAEA Marie Sklodowska-Curie Fellowship Programme held at the Agency headquarters in Vienna, Austria. 9 March 2020
Photo Credit: Dean Calma / IAEA
Moderator:
Sophie Boutaud de la Combe, Moderator and IAEA Director, Office of Public Information and Communication, Director General’s Office for Coordination
PANELISTS:
Ms Karen Hallberg, Principle Researcher, Bariloche Atomic Centre, National Atomic Energy Commission and Professor, Physics, Balseiro, Institute, Argentina
HE Mr Xavier Sticker, Resident Representative of France to the IAEA
HE Ms Dominika Anna Krois, Resident Representative of Poland to the IAEA
McDonnell XF-85 Goblin 46-0524 "parasite fighter" displayed on its ground handing trestle beneath the wing of a Convair B-36J bomber at the SAC Museum, near Omaha Nebraska.
This strange looking little aircraft was conceived at the end of WW2 to be carried in the bomb bay of the huge B-36 and launched for defence against enemy fighters, following which it would be recovered. The retractable hook ahead of the cockpit was used to connect with a trapeze extended from the belly of the bomber. Two prototypes were evaluated with an EB-29, but the programme was cancelled as the fighter didn't have the performance to match the likely hostile interceptors they would face, and significant difficulties were encountered in docking.
One of fifteen 10.6m Wright Eclipse Gemini bodied Volvo B7TL's now in the York Pullman fleet is former Go Ahead London General BX04 BKL, numbered VWL 42 in the capital. In it's previous life it was seen operating route 1 serving Canada Water, Holborn and Tottenham Court Road. This has had engine treatment systems added to reduce emissions, an offside photo shows the Adblue filler just after the front axle. The centre door has been removed and panelled over, whilst the interiors have extra grab rails and the seats have now been belted too; it currently retains its powered destination blind equipment and is seen on its last day with London blinds fitted as Pullman-specific blinds will be fitted the next day. This has been painted into an interim livery to smarten up its appearance until a rolling repaint programme is in place - if you look closely just above the destination box you will see the change of tone in the red paint where the new paint ends, as only the lower deck has been repainted to cover over the single door conversion panels; the Wrights logos front and back have been given metallic silver paint whilst the skirt has been repainted in brown... and new Pullman-specific destination blinds have been added too, these having been done in the TfL Johnson font which adds a touch of class - the rear numeric blind is a wider typeface as the aperture is slightly larger. Seen here entering the yard at Fulford where these are stored between duties.
In Nepal, the Rural Women's Economic Empowerment Joint Programme, implemented by UN Women, Food and Agriculture Organization, International Fund for Agricultural Development and World Food Programme, and funded by a consortium of donors seeks to improve women farmers’ agricultural production and income, but also changed gender-discriminatory attitudes of their male counterparts.
Rural women form a large proportion of the agricultural labour force in Nepal and play a vital yet unrecognized role in agriculture that sustains nearly 80 percent of the population. Perceived mainly as care givers, their work in farming is largely undervalued. Women farmers are often paid less than men for the same work, and lack access to resources and markets due to discriminatory attitudes. However, since the launch of the Joint Programme, a new narrative is unfolding across the villages of Rauthat and Sindhuli districts.
As more Nepalese men migrate abroad to find work, an increasing number of rural women are taking up farming. By improving women’s agricultural production, access to markets and leadership skills, the programme has increased their income, food security and independence.
Pictured: Chandra Kala Thapa along with her husband Bir Bahadur Thapa keep track of income from the sale of recently-harvested eggplant. With support from the Joint Programme, Chandra converted her field from grain production to high-value vegetables such as eggplant.
Photo: UN Women/Narendra Shrestha
Read More: www.unwomen.org/en/news/stories/2017/2/feature-women-farm...
Shown at North Weald 2010 is London Transport's first Dennis Dart/Duple Dartline DT1 (G501VYE) which was purchased for the Airbus services.
Was new to London Buses Ltd in March 1990, eventually being inherited by London United. In its later life, it was owned by Travel With Hunny (TWH Bus & Coach), and many other operators have used this bus as well. It is now in preservation.
At one point was owned by Mediabus of Romford, who used it on various TV programmes, including episode 4.2 of Waking The Dead.
This picture shows the bus when it was new operating an Airbus service to Heathrow Airport. www.flickr.com/photos/britishbuses/3228909502/
Al-Jauhara Al-Mohammed, Taif Women's Healthy City Programme President, presented a lecture entitled First Steps in Community Based Initiatives Projects under Results Based Management of the Taif Healthy City Programme at the female only session of the one day symposium held at the Al-Manae (Medical Training Academy) Health Institute under the auspices of the Preventive Healthy Agency of the Ministry of Health & the World Health Organization on November 7th., 2007 in Al-Khobar.
Carnet de campagne d’un candidat para-commando.
Nous sommes dans notre huitième semaine de formation !
Pas mal de mes collègues ont abandonné la formation suite à diverses blessures.
Au programme cette semaine : progression tactique et réaction contact ainsi qu’un parcours d’orientation de nuit que nous appelons « Dropping ».
Départ au point de drop (largage) à 20 h et arrivée au bivouac le lendemain à 6 h, je dormirai vite et fort si j’ai de la chance !
Un parcours très technique en orientation et très physique de par son dénivelé dans la région d’Arlon.
Pour ce dropping, nous emportons tout notre matériel comme en opération, ce qui correspond à 30 kilos de charge opérationnelle sur l’homme.
Vers 03 heures du matin, sous la pluie battante, le sac est de plus en plus lourd, je le remonte en permanence sur mes épaules et je pense à mes amis et proches qui, à cette heure dorment au chaud, je me pose plusieurs questions….mais qu’est ce que je fous là ?
Mais rien non je ne plierai pas, je continue à avancer, je veux être Para-Commando !
La formation Para-Commando c’est aussi une formation du caractère où la rusticité, l’adversité, la rigueur, le dépassement de soi en sont les clés.
Translation
Notebook of campaign of a candidate para - commando.
We are in our eighth week of training!
Many of my colleagues have abandoned the training following various injuries.
In the program this week: Progression and tactical response contact and a course orientation night that we call ' dropping '.
Departure to the point of drop ( dropping ) at 20 a.m. and arrived in bivouac on the next day at 6 h, i'll sleep hard and fast if i am lucky!
A journey very technical in orientation and very physics of by his grade separated in the region of arlon.
For this dropping, we have all our equipment as in operation, which corresponds to 30 Kilos of operational workload on the man.
Around 03 hours of the morning, in the rain warrior, the bag is increasingly Heavy, i the dates back permanently on my shoulders and i think of my friends and relatives who, At this hour sleep warm, i ask myself several issues.... But that is what i am doing here?
But nothing i will not bend over, i continue to move forward, i want to be para commando!
The training para commando it is also a character education where the rusticité, adversity , rigour, the exceedance oneself in are the keys.
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego Speed Champions (1:37)-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).